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In life and in history, there are always people who go unrecognised. The quiet presences who never make it into the story. Art also has its missing pieces, often left unacknowledged, sometimes by accident, often knowingly. History is clever at omission. It celebrates the “fulfilled life” as if luck and recognition were the only measures
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We often hear that art is self-expression. It sounds simple, even romantic: the artist pouring their inner world onto a canvas, into a song, or through words. But if you think about it, art is never created in isolation. It’s not just about what’s inside us; it’s also about everything that has shaped us. From
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One of the most important aspects of being an artist, in my view, is exposure. Exposure shapes not only the way we see the world but also the way we respond to it creatively. My long years in advertising gave me this exposure in ways that, at the time, I didn’t fully recognize. Looking back
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Imagine standing in front of a painting that stops you in your tracks—not just because of what it shows, but because of how it makes you feel. Art is more than the creation of images, objects, or performances; it is a powerful act of communication, a way of translating ideas, emotions, and moments into something
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Art is not a solitary act suspended in time—it is part of a living, breathing conversation that has been unfolding for thousands of years. Every mark you make, every surface you work upon, and every image you create is your contribution to that immense dialogue. Whether you intend it or not, your work joins a
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“Tradition is the record of imaginative experience.” — Kathleen Raine, Blake and Tradition When we speak of the tradition of art making, we are talking about something much larger than “traditional” art. These two terms are often confused, yet they describe very different ideas. The tradition of art making is the vast, ongoing record of human creative exploration. It is the cumulative
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Composition forms the bedrock of image-making. It is the deliberate arrangement and spatial relationship between every element within a visual work. Whether the medium is drawing, painting, sculpture, photography, video, or installation art, composition is the invisible architecture that shapes the way a piece is experienced. It governs not only the appearance of the work,
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Every work of art—whether a drawing, painting, photograph, sculpture, or digital creation—exists first and foremost as an embodiment of its own medium. Before we even engage with what it represents, we are met with how it has been made. The strokes of a brush, the texture of paper, the grain of a photograph, or the
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Art is never simply a finished product hanging on a wall or resting on a pedestal. It is, first and foremost, the outcome of a process — a dynamic interplay of thought, experimentation, emotion, intuition, and technique. This process may begin as a vague notion, a conceptual question, or even a visceral response to the
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— Maurice Merleau-Ponty, Phenomenology of Perception Whatever we know, we know through the world that surrounds us. Knowledge is never detached from lived experience; it is always grounded in our embodied encounter with reality. The world is not a neutral container but the very condition of our existence. To see, to touch, to listen — these
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Art Rabbithole 